2018 Aurealis Awards Ceremony

The Aurealis Awards ceremony will return to Melbourne for the first time in over 15 years, with a cosmic event to be held in Melbourne at the Jasper Hotel. All categories will be presented, as well as the Sara Douglass Book Series Award and the Convenors’ Award for Excellence. There will be a pre-Awards party to begin the event, with drinks and canapes provided, and a cash bar available throughout the evening.

Time: 6.30pm

Date: Saturday 4 May, 2019

Venue: Jasper Hotel, 489 Elizabeth Street, Melbourne.

To book your ticket, please use the link below.

https://www.trybooking.com/BCBAP

If you have queries relating to ticketing, please contact aajudges@gmail.com

We look forward to seeing you on May the Fourth for an out-of-this-world evening!

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2018 Sara Douglass Book Series Award shortlist

Aurealis Awards - Finalist - high resAfter consideration of more than fifty book series entered, totalling over 150 works in total, the judges of the 2018 Sara Douglass Book Series Award are delighted to announce the finalists for this period. With series numbering two to eight individual books entered and publication dates spanning thirty years for some included works, the entries, which covered series ending (in original publication) between January 2015 and December 2017, were as diverse as speculative fiction can be.

The Sara Douglass Book Series award is designed to recognise that there are book series that are greater as a whole than the sum of their parts – that is, the judges were looking for series that tell a story across the series, rather than just using the same characters/setting across loosely connected books. The judges believe that shortlisted works will be best enjoyed read in succession, with an arc that begins in the first book and is completed in the last. Excellence of writing was of the highest consideration, along with sound speculative elements, quality worldbuilding, fascinating characters and engaging storytelling.

Winners of the 2018 Sara Douglass Book Series Award, Aurealis Awards, and the Convenors’ Award for Excellence will be announced at the Aurealis Awards ceremony taking place in Melbourne at the Jasper Hotel on Saturday May 4, 2019. Details of the event and a link to the online ticketing options will be available soon.

Blackthorn & Grim [Dreamer’s Pool (2014), Tower of Thorns (2015), Den of Wolves (2016)], Juliet Marillier (Pan Macmillan Australia)

Captive Prince [Captive Prince (2014), Prince’s Gambit (2014), Kings Rising (2016)], C S Pacat (Penguin Random House)

Electric Empire [The Diabolical Miss Hyde (2015), The Devious Dr Jekyll (2015), The Dastardly Miss Lizzie (2017)], Viola Carr (HarperCollins Publishers)

The Fire Sermon [The Fire Sermon (2015), The Map of Bones (2016), The Forever Ship (2017)], Francesca Haig (HarperCollins Publishers)

Zeroes [Zeroes (2015), Swarm (2016), Nexus (2017)], Deborah Biancotti, Margo Lanagan & Scott Westerfeld (Allen & Unwin)

For further information about the Awards please contact aurealisawards@gmail.com.

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2018 Aurealis Awards shortlist announcement

Aurealis Awards - Finalist - high res

2018 Aurealis Awards finalists announced

The Continuum Foundation (ConFound), organisers of the 2018 Aurealis Awards, is delighted to announce the finalists for the Awards.

Winners of the 2018 Aurealis Awards, Sara Douglass Book Series Award, and the Convenors’ Award for Excellence will be announced at the Aurealis Awards ceremony taking place in Melbourne on Saturday May 4, 2019. Details of the event and a link to the online ticketing options will be available soon.

For further information about the Awards please contact aurealisawards@gmail.com

2018 Aurealis Awards – Finalists

BEST CHILDREN’S FICTION

The Relic of the Blue Dragon, Rebecca Lim (Allen & Unwin)

The Slightly Alarming Tales of the Whispering Wars, Jaclyn Moriarty (Allen & Unwin)

The Endsister, Penni Russon (Allen & Unwin)

Secret Guardians, Lian Tanner (Allen & Unwin)

Ting Ting the Ghosthunter, Gabrielle Wang (Penguin Random House Australia)

Ottilie Colter and the Narroway Hunt, Rhiannon Williams (Hardie Grant Egmont)

BEST GRAPHIC NOVEL / ILLUSTRATED WORK

Deathship Jenny, Rob O’Connor (self-published)

Cicada, Shaun Tan (Hachette Australia)

Tales from The Inner City, Shaun Tan (Allen & Unwin)

BEST YOUNG ADULT SHORT STORY

“A Robot Like Me”, Lee Cope (Mother of Invention, Twelfth Planet Press)

“The Moon Collector”, D K Mok (Under the Full Moon’s Light, Owl Hollow Press)

“The Sea-Maker of Darmid Bay”, Shauna O’Meara (Interzone #277, TTA Press)

“Eight-Step Koan”, Anya Ow (Sword and Sonnet, Ate Bit Bear)

“For Weirdless Days and Weary Nights”, Deborah Sheldon (Breach #08)

BEST HORROR SHORT STORY

“The Offering”, Michael Gardner (Aurealis #112)

“Slither”,  Jason Nahrung (Cthulhu Deep Down Under Volume 2, IFWG Publishing Australia)

“By Kindle Light”,  Jessica Nelson-Tyers (Antipodean SF #235)

“Hit and Rot”, Jessica Nelson-Tyers (Breach #08)

“Sub-Urban”, Alfie Simpson (Breach #07)

“The Further Shore”, J Ashley Smith (Bourbon Penn #15)

BEST HORROR NOVELLA

“Andromeda Ascends”, Matthew R Davis (Beneath the Waves – Tales from the Deep, Things In The Well)

“Kopura Rising”, David Kuraria (Cthulhu: Land of the Long White Cloud, IFWG Publishing Australia)

“The Black Sea”, Chris Mason (Beneath the Waves – Tales from the Deep, Things In The Well)

Triquetra, Kirstyn McDermott (Tor.com)

“With This Needle I Thee Thread”, Angela Rega (Aurum, Ticonderoga Publications)

Crisis Apparition, Kaaron Warren (Dark Moon Books)

BEST FANTASY SHORT STORY

“Crying Demon”, Alan Baxter (Suspended in Dusk 2, Grey Matter Press)

“Army Men”, Juliet Marillier (Of Gods and Globes, Lancelot Schaubert)

“The Further Shore”, J Ashley Smith (Bourbon Penn #15)

“Child of the Emptyness”, Amanda J Spedding (Grimdark Magazine #17)

“A Moment’s Peace”, Dave Versace (A Hand of Knaves, CSFG Publishing)

“Heartwood, Sapwood, Spring”, Suzanne J Willis (Sword and Sonnet, Ate Bit Bear)

BEST FANTASY NOVELLA

“This Side of the Wall”, Michael Gardner (Metaphorosis Magazine, January 2018)

“Beautiful”, Juliet Marillier (Aurum, Ticonderoga Publications)

“The Staff in the Stone”, Garth Nix (The Book of Magic, Penguin Random House)

Merry Happy Valkyrie, Tansy Rayner Roberts (Twelfth Planet Press)

“The Dressmaker and the Colonel’s Coat”, David Versace (Mnemo’s Memory and Other Fantastic Tales, self-published)

The Dragon’s Child, Janeen Webb (PS Publishing)

BEST SCIENCE FICTION SHORT STORY

“The Sixes, The Wisdom and the Wasp”, E J Delaney (Escape Pod)

“The Fallen”, Pamela Jeffs (Red Hour, Four Ink Press)

On the Consequences of Clinically-Inhibited Maturation in the Common Sydney Octopus”, Simon Petrie & Edwina Harvey (A Hand of Knaves, CSFG)

“A Fair Wind off Baracoa”, Robert Porteous (A Hand of Knaves, CSFG)

“The Astronaut”, Jen White (Aurealis)

BEST SCIENCE FICTION NOVELLA

“I Almost Went To The Library Last Night”, Joanne Anderton (Aurum, Ticonderoga Publications)

The Starling Requiem, Jodi Cleghorn (eMergent Publishing)

Icefall, Stephanie Gunn (Twelfth Planet Press)

“Pinion”, Stephanie Gunn (Aurum, Ticonderoga Publications)

“Singles’ Day”, Samantha Murray (Interzone #277, TTA Press)

Static Ruin, Corey J White (Tor.com)

BEST COLLECTION

Not Quite the End of the World Just Yet, Peter M Ball (Brain Jar Press)

Phantom Limbs, Margo Lanagan (PS Publishing)

Tales from The Inner City, Shaun Tan (Allen & Unwin)

Exploring Dark Short Fiction #2: A Primer to Kaaron Warren, Kaaron Warren (Dark Moon Books)

BEST ANTHOLOGY

Sword and Sonnet, Aidan Doyle, Rachael K Jones & E Catherine Tobler (Ate Bit Bear)

Aurum, Russell B Farr (Ticonderoga Publications)

Mother of Invention, Rivqa Rafael & Tansy Rayner Roberts (Twelfth Planet Press)

Infinity’s End, Jonathan Strahan (Solaris)

The Best Science Fiction & Fantasy of the Year: Volume 12, Jonathan Strahan (Solaris)

BEST YOUNG ADULT NOVEL

Small Spaces, Sarah Epstein (Walker Books Australia)

Lifel1k3, Jay Kristoff (Allen & Unwin)

Catching Teller Crow, Ambelin Kwaymullina & Ezekiel Kwaymullina (Allen & Unwin)

His Name was Walter, Emily Rodda (HarperCollins Publishers)

A Curse of Ash and Embers, Jo Spurrier (HarperCollins Publishers)

Impostors, Scott Westerfeld (Allen & Unwin)

BEST HORROR NOVEL

The Bus on Thursday, Shirley Barrett (Allen & Unwin)

Years of the Wolf, Craig Cormick (IFWG Publishing Australia)

Tide of Stone, Kaaron Warren (Omnium Gatherum)

BEST FANTASY NOVEL

Devouring Dark, Alan Baxter (Grey Matter Press)

Lady Helen and the Dark Days Deceit, Alison Goodman (HarperCollins Publishers)

City of Lies, Sam Hawke (Penguin Random House)

Lightning Tracks, Alethea Kinsela (Plainspeak Publishing)

The Witch Who Courted Death, Maria Lewis (Hachette Australia)

We Ride the Storm, Devin Madson (self-published)

BEST SCIENCE FICTION NOVEL

Scales of Empire, Kylie Chan (HarperCollins Publishers)

Obsidio, Amie Kaufman & Jay Kristoff (Allen & Unwin)

Lifel1k3, Jay Kristoff (Allen & Unwin)

Dyschronia, Jennifer Mills (Picador Australia)

A Superior Spectre, Angela Meyer (Ventura Press)

The Second Cure, Margaret Morgan (Penguin Random House)

The Sara Douglass Book Series Award shortlist will be announced at a later date due to the volume of entries under consideration.

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2018 Convenors’ Award for Excellence nominations

Each year we make the eligible nominations received for the annual Convenors’ Award for Excellence public. There are several reasons for this:

  • There is no shortlist announced, so it feels right to recognise the entries;
  • These are items you may not otherwise have come across, so we’d like to make sure you know about them;
  • It may help people figure out what might be eligible in future.

It is very important to note that this list is NOT a shortlist – it is simply a list of the eligible entries we received for the Award this year (please note also that these can be self-nominated). The convenors consider all eligible entries in deciding the winner, but there is no shortlist generated, and only the winner will be presented at the ceremony.

A reminder what this award is for:

The Convenors’ Award for Excellence is awarded at the discretion of the convenors for a particular achievement in speculative fiction or related areas in that year that cannot otherwise by judged for the Aurealis Awards. 

This award can be given to a work of non-fiction, artwork, film, television, electronic or multimedia work, or one that brings credit or attention to the speculative fiction genres.

This year’s entries are:

Eugen Bacon, “What is AfroSF?”, Aurealis #111

In her capacity as an African Australian writer, a creative writer and a scholar, Dr Eugen Bacon in this work of non-fiction continues her contribution to speculative fiction in insightful and accessible conversations that connect broad audiences. In this article Bacon interrogates the term ‘AfroSF’ in the context of science fiction by African writers, and its potential non-application to a wider logic as a ‘concept’ rather than a ‘naming’. The article is poignant and merits the attention of Australia’s AustLit society, a non-profit collaboration of academic, library and research organisations in discovering Australian creative writing, criticism, ‘blackworks’ and stage and screen productions. ‘What is AfroSF’ is creative non-fiction that credits the speculative fiction genre in expanding current debates by diverse storytellers in Australia’s literary, print and narrative landscape.

Jac Colvin, “Lost Ones”, Sub-Q Magazine

The dream’s half-remembered song pulls you towards the river at night. What will you find? “Lost Ones” is an eerie, atmospheric take on the rusalka, Slavic water nymphs whose intentions could be downright murderous. In “Lost Ones”, you’ll pit your wits and desperation against one. But something about this particular rusalka is familiar… “Lost Ones” is a short work of electronic interactive fiction which combines the old with the new. The rusalki, creatures from half remembered folk tales, are brought to life in a way that allows the audience to become part of the story. Readers take the part of the protagonist, influencing the story with their decisions and allowing it to conclude in multiple ways.

Ruqiyah Patel, “if not us: an interactive fiction anthology”

if not us is unique to interactive fiction: a collection of five different stories, each with different presentations, narrators, mechanics and styles. It draws on traditional literary techniques and classic fantasy tropes to tell an epic story with minimal exposition: five heroes embark on a journey to save the world, but the journey claims their lives one by one, and at the end the sole remaining hero stands outside their enemy’s fortress and wonders: can I be victorious alone? Is this the battle that I must fight? What success will I find, if I continue onwards? ‘Tragedy’ is a classic literary genre, but it’s rarely seen in video games – I argue this is because the archetypal tragedy relies on the protagonist’s own flaws leading to their downfall, and having to play through this yourself in a video game can be a gruelling, unpleasant experience. if not us brings tragedy to games in a more palatable way – yes, you play as a character whose flaws have cost them everything, but the question is: what next? Must this remain a tragedy? if not us runs on Mac/Windows/Linux and can be downloaded for free at https://ub4q.itch.io/ifnotus

Tansy Rayner Roberts, “Gentlewomen of the Press”, self-published

A themed collection of pop culture essays from an award-winning Australian critic.

Cat Sparks, “The 21st Century Catastrophe: Hyper-capitalism and Severe Climate Change in Science Fiction”, Curtin University

The exegesis, The 21st Century Catastrophe: Hyper-capitalism and Severe Climate Change in Science Fiction, examines key cultural concerns of the sixties and seventies as expressed through ecocatastrophe science fiction: overpopulation, pollution, resource depletion and contamination, considering that, despite sophisticated literary efforts, science fiction’s cautionary tales were rendered ineffective, diffused by genre cringe and prejudice, dismissed as mere entertainment. This is contrasted with contemporary climate fiction, written with the presumption that the processes leading to resource depleted, climate ravaged futures are already inexorably in motion. Anthropocene fiction is pushing beyond its origins as a subgenre of science fiction, evolving into a bold new genre responding directly to looming environmental crisis, laying the foundations for new literatures to emerge alongside new technologies, new attitudes, new social ecologies and new hope. This exegesis brings both credit and attention to the speculative fiction genre by detailing storytelling’s call for the expansion of literary boundaries into frontiers, the pulling down of fences, the retiring of the old and the invigoration of fresh, new perspectives as our societies and cultures are forced to embrace a reality in which all mimetic fiction will eventually be climate fiction by default.

Kim Wilkins, Lisa Fletcher, and Beth Driscoll, “Genre Worlds: Australian Popular Fiction in the 21st Century”

This large-scale research project sought to understand the interlinked textual, social, and industrial complexities of the production of Australian fantasy, crime, and romance. Over the three years of the project, the team interviewed over 100 writers and publishing personnel, organised an industry conference (http://www.genreworlds.com/genre-worlds-symposium-2016/), an academic conference (http://www.genreworlds.com/genre-worlds-conference-2017/), curated a special issue of Australian Literary Studies (https://www.australianliterarystudies.com.au/issues/genre-worlds-popular-fiction-in-the-twenty-first-century), and published findings about Australian genre fiction of the 21st century, including one on small press and fantasy fandoms, and another tracing the publishing ecosystems of fantasy, crime, and romance (attached). The project was funded with more the $300,000 of Australian Research Council money, and was the first large funded project in Australia that took as its object of study the “”genre worlds”” of fantasy, crime, and romance. As such, it has raised the profile of those genres and the profile of speculative fiction in the academic world, and has expanded the field through nurturing multiple PhD students and early career researchers.

 

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Aurealis Awards entries close this Friday!

Only two days left to get your 2018 Aurealis Awards entries in. It’s important to remember that ALL eligible Australian work published for the first time between January 1 and December 31, 2018, must be entered by midnight on December 7, even work intended for publication after the December 7 cut off date.

Don’t be late – get your entries in now!

ICQ

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Aurealis Awards entries update and reminder!

There is now less than one month until entries close for the 2018 Aurealis Awards. It’s important to remember that ALL eligible Australian work published for the first time between January 1 and December 31, 2018, must be entered by December 7, even work intended for publication after the December 7 cut off date.

Please take care to check the updated entries received list and get your entries in!

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Save the date! Aurealis Awards ceremony in Melbourne!

We’re very excited to announce that the Aurealis Awards ceremony will be held in Melbourne on the evening of Saturday 4 May, 2019. Further details of venue and exact time to be confirmed, but lock it into your calendar!

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